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Archival Notes No. 6

An open-access, peer-reviewed journal, curated by the Institute for Music of the Giorgio Cini Foundation. With an interdisciplinary approach, Archival Notes. Source Studies in Twentieth and Twenty-First-Century Music is dedicated to the research of musical sources from the twentieth and twenty-first centuries.

Articles

Giuliano Danieli, Echoes of Folk Music in Roman Vlad’s Documentary Soundtracks: Intersections between Cinema, Ethnomusicology and Exoticism
Alessandra Origani, Ernesto Rubin de Cervin: Scenes from his Cultural Biography
Gabriele Sfarra, Three ‘Meditazioni’ by Giovanni Salviucci
Maria Marta Vitale, Egisto Macchi’s ‘Pocket’ La bohème: Innovation and Tradition in the Reduction of Puccini’s Masterpiece

Focus

Miriam Akkermann, Systematising (at) the Present for the Future: Reflections on Archiving Electroacoustic Music
Laura Zattra, The Electroacoustic Music Archives at the Fondazione Giorgio Cini: A Review of the Camillo Togni, Fausto Romitelli and Giacomo Manzoni Collections

Documents and Reports

Luigi Collarile, Andrea Gabrieli for Igor Stravinsky (Venice, 15 April 1971): The Choice of Sandro Dalla Libera
Carlo Ferdinando de Nardis, A Musical Notebook by Alfredo Casella: Quaderno 9 (1924–1926)

The sixth issue of Archival Notes is available for download and consultation on the OJS platform of the Fondazione Giorgio Cini.

Religiographies vol.1 n.1

Open-access and peer-reviewed journal, curated by the Centre for Comparative Studies of Civilisations and Spiritualities at the Fondazione Giorgio Cini.

With an interdisciplinary approach, Religiographies fosters dialogue between historians, sociologists, anthropologists, philosophers, and psychologists on three main themes: mysticism, esotericism, and spirituality.

ISSN 2974-6469

Rivisitazioni e innovazioni

Around the mid-20th century there was a signiﬁcant change of perspective among Italian composers interested in the production of Claudio Monteverdi. The preceding phase, dominated by the figure of Gian Francesco Malipiero, had been characterised by a gradual approach to Monteverdi’s music through transcriptions and productions of the works that pursued to varying degrees the ideal of reconstructing the original, with a strong tendency to historical accuracy, but which nevertheless did show some reworkings in the instrumentation. From the 1950s onwards, the approach became much more “creative” and took the form of structural reinterpretations of some of the Cremonese composer’s masterpieces and the updating of the original instrumentation. Monteverdi is no longer revived with the overarching nationalistic intentions of the immediately preceding generations, who saw him as the father of Italian opera, but for the modernity of his thought and his compositional technique.

The essays in this book, which focus on compositions that have not been investigated in musicological literature to date or on repertoire pieces that are now approached from a new perspective, show how, from Luigi Dallapiccola’s transcription of Ritorno di Ulisse in patria in 1942 up to the dawn of the new millennium, we have witnessed a varied process of both inte-gration and transcription of Monteverdi’s works making use of traditional instruments (Luciano Berio, Fausto Razzi) and of rewriting, also with the aid of new technologies (Bruno Maderna, Giorgio Battistelli, Ivan Fedele). In all cases, the work of “readapting” the music is underpinned by a careful analysis of Monteverdi’s production, also with a view to transferring features of his craft into works that are completely independent from it in terms of content and poetics (Luigi Nono). Composers who have directed Monteverdi’s operas have achieved equally diverse results (Sylvano Bussotti, Egisto Macchi) as have those who have enhanced the original model with prequels and sequels (Domenico Guaccero, Claudio Ambrosini).

The seven essays are by Rodolfo Baroncini, Angela Carone, Michele Chiappini, Paolo Dal Molin, Mila De Santis, Alessandro Maras and Federica Marsico.

Music of the Twenty-First Century Diasporas: Research and Methods

The volume Music of the Twenty-First Century Diasporas: Research and Methods is the third in a series of online publications by the IISMC, stemming from the international ethnomusicology seminars that the Institute organises each year. It is a series that addresses current and original research topics, contributing to an international debate on the discipline and at the same time constituting an important educational tool, especially at university level. Edited by Serena Facci and Giovanni Giuriati, the volume derives from the seminar bearing the same title organised in San Giorgio in 2020, just before the outbreak of the pandemic. Through the contributions of various authors, mostly Italian, it aims at providing a multi-voiced reflection on the musical life of the many migratory contexts that can be observed in Italy.

A vivid and varied picture emerges from the contributions, both in terms of the particularities of the musical cultures called into play and of the research themes: interaction with Italians, transmission of musical knowledge among second generations, role of musicians and their dynamic relationship with the ‘motherland’, transnationalism of sacred musics, use of technologies that are increasingly involved in – and determining – the construction of feelings of belonging in the broad and everchanging diasporic borders.

An extensive introduction by Serena Facci and two important chapters by Adelaida Reyes and Francesco Remotti lucidly contribute to tackling the theoretical issues underlying the volume. This initial theoretical part is followed by the presentation of original research conducted by young scholars on the musical practices of various diasporic communities that have settled in Italy recently or for a long time, including Armenians, Chinese, Ukrainians, Eritreans and Sikhs. The last part of the volume takes up, in the light of the research presented, questions of method concerning this peculiar and intrinsically transnational object of research.

In the papers the reader may find several links to audio and video examples that illustrate the research by means of audiovisual documentation, making this volume fully multimedia.

Link to the publication

Ebook Comics and the Invisible

Comics and the Invisible

Download comics-and-the-invisible

This work collects some of the panels of the conference Comics and the Invisible: Intertwining Academic and Artistic Perspectives, held in Venice on June 3-4 2022.

The conference was the closing event of Invisible Lines, a two-year international project co-funded by the Creative Europe Programme, conceived and coordinated by the Centre for Comparative Studies of Civilisations and Spiritualities of the

Giorgio Cini Foundation (Venice, Italy) with the associations Central Vapeur (Strasbourg, France) and Hamelin (Bologna, Italy) and the publisher Baobab Books (Tabor, Czech Republic).

The entire project was shaped around a question: how to draw the invisible? The question was posed first to twelve young artists selected among more than 400 applicants from all over Europe, who have been involved in an international training experience designed as an illustrated journey through the invisible. At each stage, the hosting partners set up a workshop in which young artists could work and co-create, interpreting the initial question according to their own sensitivity and the genus loci of the places they visited: Broumov, Venice and Strasbourg.

Each workshop focused on a different interpretation of the idea of invisibility. The artists explored the invisible as a form of spiritual and metaphysical quest, inquiring both the relationships with the unconscious and with the transcendent. They represented what is invisible in the daily landscapes we cross by drawing places now abandoned as a result of ever-changing society and historical mutations. Finally, they considered invisibility in its social and political dimension, narrating the lives of some of the migrants and refugees living at the Bernanos Centre in Strasbourg – lives that are too often at the center of media representations yet rarely present with their own stories and voices.

For each workshop the artists were given a special guide: internationally acclaimed artists Stefano Ricci, Juraj Horváth and Yvan Alagbé helped the young artists to draw their own stories, later collected in two visual books and a newspaper.

Their original artworks were also exhibited at three of the major comics and illustration festivals in Europe: BilBOlbul International Comics Festival (Italy), Central Vapeur (France), and Tabook Festival (Czech Republic).

The journey did not end there, because at the final stage of the project the same initial question was asked to a selected group of international comic studies researchers during the aforementioned conference. They too were given the chance

to share ideas with some visual artists who were gamechangers in the field of comics and visual narrative: Lorenzo Mattotti, Dominique Goblet, Stefano Ricci, David B. and Manuele Fior. The result of this encounter is the publication you are reading

now. It goes without saying that the question of invisibility remains unredeemable. The artists’ discussions and works presented in this publication show how artists explore their vision as well as outside reality not just by drawing what they see but longing for what cannot be seen: the struggle to draw the invisible lies behind the choices, inventions, and tricks that keep comic art evolving.

For more information about Invisible Lines: https://invisiblelines.eu/

Religiographies

Open-access and peer-reviewed journal, curated by the Centre for Comparative Studies of Civilisations and Spiritualities at the Fondazione Giorgio Cini.

Religiographies is dedicated to the study of religious phenomena, fostering an interdisciplinary dialogue among historians, sociologists, anthropologists, philosophers, and psychologists. Mysticism, esotericism, and spirituality are the three main themes of the journal, which are explored within their historical and cultural contexts, challenging traditional categories of religion. The heterographie section, dedicated to artistic and visual works, expands the understanding of the phenomena discussed.
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Religiographies is an open-access, peer-reviewed, scholarly journal dedicated to the field of religious studies and published under the auspices of the Centre for Comparative Studies of Civilisations and Spiritualities of the Giorgio Cini Foundation. Since 2025, it has been recognised by ANVUR (the agency of the Ministry of Education) as a scientific journal for Area 11 (Historical, Philosophical, Pedagogical and Psychological Studies); Religiographies wishes to foster an interdisciplinary approach to religious phenomena, promoting dialogue between historians, sociologists, anthropologists, literary scholars, philosophers, and psychologists.
We aim at promoting an anthropological history and at the same time a socio-anthropology with a strong historical emphasis, intending to avoid both socio-anthropological presentism and history only focused on ideas and institutions, while ignoring materiality, emotions, everyday lives.
We encourage at deconstructing and challenging categories (including the very word “religion”) not as a theoretical exercise, a proof of concept, but as a practice, showing with fieldwork data, the porosity and frailty of our categories.
We aim at discussing those topics that are often neglected by social and human sciences – such as mysticism, esotericism, spirituality – which, in the words of Michel de Certeau, “haunt scientific epistemology”. Our aim is not to create another journal on alternative spiritualities, but to bring these themes back into mainstream discussions of religious and cultural phenomena.
Finally, with the concept of heterographies– we intend to give space to other forms of representations, such as photography, comics, video, and artwork. These other languages will allow contributors – scholars and artists – to explore dimensions beyond the social sciences frame of objectiveness and coherence. This section, called heterographies, is not strictly scientific: it will not be peer-reviewed, but will receive feedback from the editors and invited commentators.

We invite submission on all religious phenomena, with a special focus on:

comparative approaches;
cultural transfers: acculturation, appropriation, imagination;
continuities and discontinuities between religious discourses and everyday life practices;
transhistorical perspective, stressing the connections between old and new trends;
liminal phenomena between the secular and the religious;
the relationship with alterity, understood not only as religious, but also in terms of gender, sexual orientation, and ethnicity;
phenomenology of the religious body: perceptions, emotions, sensations and construction of the body;
epistemological and methodological debates about the transferability and translatability of religious studies categories.

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Editor-in-chief
Francesco Piraino, Fondazione Giorgio Cini / Harvard Divinity School

Editors
Mark Sedgwick , University of Aarhus
Dionigi Albera, CNRS-IDEMEC

Assistant editors
Elena Bernardinello, Fondazione Giorgio Cini
Eva Salviato, Fondazione Giorgio Cini

Copy editor and proofreader
Anna Fitzgerald

Book Reviews
Valentina Gaddi, Université de Montréal

Editorial board
Stefano Allievi, University of Padua
Egil Asprem, University of Stockholm
Katell Berthelot, CNRS–Aix-Marseille University
Francesco Cerchiaro, Radboud University
Andrea De Antoni, University of Kyoto
John Eade, University of Roehampton
Diana Espírito Santo, Universidad Catholica de Chile
Fabrizio Ferrari, University of Padua
Mattia Fumanti , University of St. Andrews
Giuseppe Giordan, University of Padua
Alberta Giorgi, University of Bergamo
Boaz Huss, Ben Gurion University
Salvatore La Mendola, University of Padua
Marco Pasi, University of Amsterdam
Enzo Pace, University of Padua
Stefania Palmisano, University of Turin
Vadim Putzu, Missouri State University
Khalid Razzhali, University of Padua
Antonio Rigopoulos, University of Ca’ Foscari
Armando Salvatore, University of McGill
Chiara Tommasi, University of Pisa
Fabio Vicini, University of Verona
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Religiographies vol.3 n.2 (2024)
Religiographies vol.3 n.1 (2024)
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Religiographies vol.2 n.2 (2023)
Religiographies vol.2 n.1 (2023)
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Religiographies vol.1 n.1 (2022)
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A Book of the Body Politic

A Book of the Body Politic.
Connecting Biology, Politics and Social Theory
Edited by Bruno Latour, Simon Schaffer, Pasquale Gagliardi
San Giorgio Dialogue 2017

“Do you remember the Aesopian Fable of the Belly and the Members, or the letter of Paul to the Corinthians about the Body and the Church, or The Fable of the Bees by Mandeville, or the somewhat dangerous association of pests and foreigners, or the more recent attempts to think of the Earth as a giant organism? None of these stories stops shifting metaphors between one domain—that of the body—and another—that of politics. The result has been the creation of that most important concept of Western philosophy, corpus politicum, the Body Politic. One interesting aspect of this most famous topic is that every domain borrows from each other the certainty associated with the other’s authority, so that political science ends up borrowing from biology what biologists borrow from political theory.

This constant commerce of concepts and metaphors, unfortunately, has never guaranteed the quality of what has been ceaselessly transported from one domain to another. The result is that we remain deprived of a coherent definition of collective bodies. Hence the idea of attempting to re-open the question in a Dialogue of San Giorgio by bringing the different domains together and examine what each has really to offer to the others that is genuinely proper to the phenomena it studies.

This book is the outcome of three days of intense confrontation among experts of various disciplines (biology, philosophy, ecology, social theory, anthropology, history of science, political science) aimed at finding a new body’s description for the Body Politic.”

Download the volume BODY POLITICS

Preserving the Past for the Future. Visions, Strategies, Actions to Enhance the Preservation of the World’s Cultural Heritage

Preserving the Past for the Future. Visions, Strategies, Actions to Enhance the Preservation of the World’s Cultural Heritage
Edited by Jack Lohman and Shobita Punja

This publication is the edited result of the international symposium Preserving the Past for the Future, that took place at the Fondazione Giorgio Cini in Venice on the 23rd of October 2018.

The meeting discussed the topic of the political, cultural and technical challenges constantly faced by public and private institutions responsible for protecting the heritage, also taking into account the role that international cooperation can play in solving these kinds of issues. Particular attention has been paid to how digital technologies can preserve and enhance the great European cultural heritage. The booklet’s structure reproduces the thematic sessions that involved institutions and individuals from various world regions with different cultural traditions (India, China, America and Europe). The aim was to outline a global perspective on the topic, through comparative analysis and sharing knowledge and experiences.

Download the pdf -ebook

«Studi Vivaldiani» 17

INDICE

Jóhannes Ágústsson, Joseph Johann Adam of Liechtenstein, Patron of Vivaldi
Joseph Johann Adam del Liechtenstein, patrono di Vivaldi (sommario)
Javier Lupiañez – FabrIzIo Ammetto, Una nuova cadenza vivaldiana in un concerto per violino anonimo
A New Vivaldi Cadenza in an Anonymous Violin Concerto (summary)
Michael Talbot, Another Vivaldi Work Falsely Attributed to Galuppi by Iseppo Baldan: A New laetatus sum for Choir and Strings in Dresden
Un’altra composizione di Vivaldi falsamente attribuita a Galuppi da Iseppo Baldan: un nuovo laetatus sum per coro e archi conservato a Dresda (Sommario)

Francesca MenchllI-ButtIni, Aspetti delle opere di Geminiano Giacomelli nel contesto teatrale veneziano fra il 1728 e il 1740
Aspects of the Operas of Geminiano Giacomelli in the Venetian Context between 1728 and 1740 (summary)

Gabriele Uggias, Catalogo delle edizioni vivaldiane (1800-1946)
Catalogue of the Editions of Vivaldi’s Music (1800-1946) (summary)

Miscellany (M. talbot)

Miscellanea (M. talbot)

Discographie Vivaldi 2016-2017 (r.-C. travers)

Scarica il volume completo Studi Vivaldiani 17 – 2017

Archival Notes No. 2

Articles

Elia Andrea Corazza, Opera or ballet? Ottorino Respighi vs. Sergei Diaghilev: a Study of the Sources for «La Boutique fantasque», «Le Astuzie femminili» and «La Serva padrona»
Tobias Reichard, “Malipiero Germanised“ Traces of Cultural Usurpation in Nazi Germany
Angela Carone, Alfredo Casella and Giovanni Salviucci. The Story of a Friendship Told Through Archival Documents
Susanna Pasticci, Hermeneutics and Creative Process: Roman Vlad’s Reception of Stravinsky
Marco Cosci, Vancini, Macchi and the Voices for the (Hi)story of Bronte
Simone Caputo, An Attempt at Creating Total Theatre: «Scene del potere» by Domenico Guaccero
Giacomo Albert, Some Remarks about Serialism in «Atomtod» by Giacomo Manzoni

Documents and Reports

Paolo Valenti, Aurél Milloss’s and Nino Rota’s «Rappresentazione d’Adamo ed Eva»: Archival Documents
Angela Carone, Publications and Activities

The second issue of Archival Notes is available for download and consultation on the OJS platform of the Fondazione Giorgio Cini.